David Edelstein
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For 1,606 reviews, this critic has graded:
  • 46% higher than the average critic
  • 2% same as the average critic
  • 52% lower than the average critic
On average, this critic grades 3.7 points higher than other critics. (0-100 point scale)

David Edelstein's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 The Queen
Lowest review score: 0 Funny Games (2008)
Score distribution:
1,606 movie reviews
    • 69 Metascore
    • 80 David Edelstein
    It takes some time to realize we're in a maelstrom--going down down down into a saga of obsession, sadism, masochism, and codependency that was and remains one of the great, sick tabloid stories of all time.
    • 70 Metascore
    • 80 David Edelstein
    It's madly funny--a treat for moviegoers who don't mind gnawed-off limbs with their high jinks.
    • 80 Metascore
    • 80 David Edelstein
    I found the first half-hour a snooze, but once I adjusted to the movie's rhythms, I was completely enraptured. Ferran weaves the love affair into nature, but not in the mystical, sanctified manner of Ang Lee's "Brokeback Mountain."
    • 74 Metascore
    • 80 David Edelstein
    Sicko is Moore’s best film: a documentary that mixes outrage, hope, and gonzo stunts in the right proportions; that poses profound questions about the connection between health care and work.
    • 71 Metascore
    • 80 David Edelstein
    Kohn’s gripping Manda Bala is the opposite of a high-school science doc. It’s a free-form portrait of a place--Brazil--with scary running motifs: kidnapping, mutilation, plastic surgery, bulletproofing, and frog farming.
    • 65 Metascore
    • 80 David Edelstein
    The first two thirds and change of I Am Legend is terrific mindless fun: crackerjack action with gnashing vampires barely glimpsed (and scarier for that) and how’d-they-do-that New York locations that retroactively justify the traffic jams.
    • 61 Metascore
    • 80 David Edelstein
    The Afghan boys’ kite-flying contests are the emotional core of the film, and Forster and his crew bring the camera into the sky and make it dip and soar along with the kites. It’s a thrilling spectacle, although it’s also tinged with a peculiarly emasculating aggression.
    • 82 Metascore
    • 80 David Edelstein
    It’s the equal of "No End in Sight" in its tight focus on the nuts and bolts of incompetence, and it surpasses any recent melodrama in the empathy it evokes for both its victims and--surprisingly--victimizers.
    • 80 Metascore
    • 80 David Edelstein
    The Band’s Visit resounds with tenderness and melancholy.
    • 83 Metascore
    • 80 David Edelstein
    Bahrani’s concentration is close to supernatural as he tracks the young, prepubescent Ale (Alejandro Polanco) from job to soul-numbing job, some legal, some extralegal, to the point where you’re forced to suspend altogether your moral judgments and watch with a mixture of pain and awe.
    • 65 Metascore
    • 80 David Edelstein
    In Married Life, Ira Sachs aims a bit lower than Green but obliterates his target: The funny, the scary, the campy, the sad--they’re all splendidly of a piece.
    • 65 Metascore
    • 80 David Edelstein
    Battle for Haditha has some of the raw energy of Sam Fuller's war pictures, which weren't subtle but left you energized by their ambivalence (there was no good or evil). It's a hell of a picture.
    • 54 Metascore
    • 80 David Edelstein
    Director Dennis Dugan knows his way around shin-whacking slapstick, and Sandler is mesmerizing.
    • 69 Metascore
    • 80 David Edelstein
    This one is alive with discoveries--of locations, characters, the actors who embody them, and even the medium. In The Go-Getter, filmmaking itself feels like Manifest Destiny.
    • 52 Metascore
    • 80 David Edelstein
    The first two thirds are gangbusters, with marauding bands of tarted-up young witches who look only slightly less scary than Lindsay Lohan and her pals on an average night.
    • 84 Metascore
    • 80 David Edelstein
    My Winnipeg is overloaded and digressive--it comes with the territory--but it's also grounded in a place, Maddin's Manitoban hometown, and it's painfully engrossing.
    • 73 Metascore
    • 80 David Edelstein
    A tender, even-tempered elegy to a writer who at his peak could ingest staggering (literally) amounts of drugs and alcohol and transform, like Popeye after a can of spinach, into a superhuman version of himself--more trenchant, more cutting, more hilarious than any political journalist before or since.
    • 79 Metascore
    • 80 David Edelstein
    Brown explores a potentially enraging subject--rigidly upheld racial segregation in the country's oldest Mardi Gras celebration, in Mobile, Alabama--but her touch is so unforced and her gaze so open that no one is bruised.
    • 70 Metascore
    • 80 David Edelstein
    Ought to have been an eye-roller. What a surprise that it's so seductive. The Woodman lives!
    • 83 Metascore
    • 80 David Edelstein
    You can't make this stuff up. You can, however, capture it on film for all time. Trouble the Water is ineradicably moving.
    • 79 Metascore
    • 80 David Edelstein
    Moving Midway is thrilling.
    • 62 Metascore
    • 80 David Edelstein
    An uncommonly well-crafted historical feminist tearjerker--both anti-patriarchal and a monument to motherhood.
    • 84 Metascore
    • 80 David Edelstein
    Leigh has been giving actors their tongues for decades, and of all his films, Happy-Go-Lucky is the easiest, the least labored.
    • 79 Metascore
    • 80 David Edelstein
    Philippe Claudel's direction is both probing and delicate, and Scott Thomas's face, even immobile, keeps you watching, searching for hints of her character's past, unable to blink for fear of missing something vital.
    • 58 Metascore
    • 80 David Edelstein
    The result, however clichéd, is spectacularly unnerving: hair-trigger horror.
    • 67 Metascore
    • 80 David Edelstein
    As Bolt, John Travolta is inspired: His voice still cracks like an adolescent’s, and he has the perfect dopey innocence.
    • 81 Metascore
    • 80 David Edelstein
    It is filmed with simplicity, a purity of intent, and I wanted to watch the faces of these men in their last seconds of life--not for the sake of history, but because of Wajda's imperative to put his father's death onscreen. He needed to do this. And somehow, sanity is restored.
    • 62 Metascore
    • 80 David Edelstein
    The first half of The Yellow Handkerchief is the half-movie of the year, and the rest isn’t bad--just more sentimental, more ordinary.
    • 53 Metascore
    • 80 David Edelstein
    If you can get past the craven concessions to formula, though, it’s rather underful--I mean, wonderful. Taking his cues from John Tenniel’s famous illustrations, Burton indulges his delight in disproportion.
    • 48 Metascore
    • 80 David Edelstein
    The neat thing about Jonathan Parker's modern-day Bartleby (Outsider Pictures) is that it brings out all the vaudeville undercurrents in Melville's dark tale and turns it into a surreal tragi-sitcom for our own era.